I had a recent request for a disaster protocol I helped develop for an
international exhibition of paintings. The borrower found it very helpful and
called for permission to use it for a current exhibition. She suggested I
put it on the distribution list. So, here it is, and please use it if it
is helpful.

Protocol for Emergencies

Shelley Reisman Paine
2407 Sunset Place
Nashville TN 37212

An emergency is defined as any event which alters or may have the
potential to alter the environment or safety of the paintings. Listed
below are examples of obvious emergency situations. Other emergency
situations are less easy to define. These situations can include
unusual smells or vapors in the gallery, or any other unusual
occurrence. When something out of the ordinary occurs, the staff
should assume it is an emergency or a potential threat to the
collection and contact the consulting conservator, Shelley Reisman
Paine, for further instructions. She can be reached at 242-0979 or by
beeper, 923-6481.

The conservator has the right to recommend to TSM and BSM to
remove paintings at any time until emergency conditions have been
properly remedied. Any dispute regarding the removal or
reinstallation of the paintings will be handled directly between the
directors of TSM and BSM.

The purpose for this protocol for emergency is to establish in
advance the special care and handling required by the paintings in
the MASTERWORKS exhibition. The following are a list of obvious
emergencies and the methodology required:

1. Vandalism

In the event a vandal marks or damages a painting(s) the
following should occur:

A. Call Delta room to contact Evadine McMahan or Bill
Griffith who will contact Shelley Paine on her beeper, and
designated TSM staff.

B. The painting(s) will be removed from the exhibition,
by collections staff members and placed in a safe location within
the climate controlled collection storage area. The painting will
be remain horizontal on a table.

C. In the event that no collection department staff is
available, the armed guard should remove the painting(s) and place
it face up on the gallery floor. The Chief of Security will then
take it to the small laboratory and remain there until it can be
transferred to the highest security location in the collection
storage room.

D. The painting(s) will remain in collection storage
until the BSM has been contacted and they have given authority for
any treatment.

B. The painting will be taken to the conservation
laboratory. The painting will remain horizontal on a table.

C. Tap water will be applied to the surface area on the
painting with a sponge or a cotton swab.

D. The painting will be removed from the frame.

E. The tap water will be reapplied with a sponge or
cotton swab.

F. A final rinse of the area will be made with distilled
water.

G. The conservator, once at the TSM, will measure the pH
of the area and buffer as needed to neutralize the surface of the
object.

2. Fire, flood or other emergencies requiring evacuation

In the event that there is an emergency which requires evacuation
out of the building and/or transfer to the State Computer Center,
the painting(s) will be handled in the following manner:
A. All potential exits from the building will be mapped. Procedural
instructions for evacuation are under 4. Security procedures for an
emergency, at the end of this document. The materials and
methodology is as follows:

Materials

An envelope will be made in advance for each painting from Royco
Mil B Class 1 ( a laminate of polyethylene/aluminum/polypropylene).

A double walled cardboard cover for each painting.

Rolls of aluminum tape will be purchased and kept with the
cardboard and the envelopes.

Methodology

The paintings will be enveloped in the gallery or in a staging
area depending on the exit chosen for evacuation and the time
permitted to do the procedure.

The cardboard will be placed over the front of the painting's
frame and then placed inside the Royco envelope.

The sides of the envelope will be folded down to the size of the
frame and then secured in place with the aluminum tape. The tape
must be applied to form a continuous seal thus creating a
micro-climate inside the envelop.

When the paintings can be taken from the envelope the following
procedure will be used: A. The paintings will not be removed
directly from the envelop at any time. B. A small portion of the
tape must be peeled away and the painting inside allowed to
equilibrate with the climate for a period of 24 hours. C. The tape
can then be removed and the painting allowed to equilibrate for a
second 24 hour period. D. On the third day the painting can be
removed from the envelope.

Any painting which is either damaged by smoke or water should be
unglazed, unframed and allowed to dry horizontally.

Guard post #4 will be notified by the armed guard that there is
an emergency, and he will bring the loading dock elevator down and
open both doors.

3. Environmental emergencies

Climate

The gallery is to be maintained at 55% + 2.5% within any given
day and + 5% over month at all times. If this 55% range cannot be
maintained then, with the permission of BSM, the conditions will be
maintained at 50% + the same ranges. Major fluctuations or abrupt
not non-repairable climatic conditions may require evaluation of the
collection from the gallery and possibly from the building. The
methods for removal are the same as in #2 above , the means to
determine if enveloping or evacuation is needed is as follows:

A. If a potential emergency or if the climate is reaching its
outer limits, 52.5% or 57.5% relative humidity or 77 or 66 degrees
F, call the Delta room and contact Evadine McMahan or Bill Griffith
who will contact Shelley Paine on her beeper, and designated TSM
staff if necessary.

B. If the relative humidity falls below 40% for a period of 24
hours, then the paintings, designated as "A" (see attached list - 18
in total), will be placed in the envelop and remain the the gallery,
unless told otherwise by TSM or BSM. The "A" painting will be
identified in the gallery by attachment of a color symbol below the
painting near the floor. This will permit easy identification of the
"A" paintings.

C. What is most important is the rate of the fall in
relative humidity. The more consistent the relative humidity or the
more steady the fall the less effect the drop will have on the
paintings. Therefore, if the relative humidity falls without
apparent reason to 40%, or if there is no apparent means to correct
the drop then the paintings will be placed in the envelop and remain
in the gallery, protected by an armed guard.

D. The paintings will be placed in the envelope when the
relative humidity reaches 35 % for any reason. Although it is not
likely, if the relative humidity exceed 70% the paintings will be
placed in the envelopes.

Building mechanical systems

There are many different mechanical systems in the building, for
example, electrical and plumbing. Should there be any malfunction
of these systems the following is recommended:

Call the Delta room and contact Evadine McMahan or Bill Griffith
who will contact Shelley Paine on her beeper.

Plumbing

A. Although gutters have been installed under all the
potentially problematical pipes a potential still always exists for
a leak. In the event of a leak, the paintings effected should be
removed, by the person who notes the leak, from the wall and placed
in a safe area within the alarm system in the gallery. The armed
guard will then notify Evadine McMahan, who will contact Shelley
Paine and appropriate TSM staff.

Electrical

A. The problem of electrical systems is largely smoke.
If there is smoke in the gallery and HVAC system that provides air
to the gallery, then the paintings should be placed in the envelop.
and evacuated if necessary.

Sprinkler

In the event that the sprinkler system is discharged the
following is recommended:

A. All paintings should be removed from the gallery to a
safe work space, and then unglazed and unframed and allowed to dry
horizontally. The paintings should be elevated 2" to allow air flow
under the object to facilitate drying.

B. If the water appears discolored, or if the Painting
Conservator deems it necessary, the surface of the paintings will be
cleaned using distilled water applied with a cotton swab. This work
can be done by the Painting Conservator and or the Representative of
the Paintings.

Light

A. No supplementary lights will be allowed to photograph
or video tape the paintings in the collection. The media will use
instead the transparencies provided by BSM or use available exhibit
light conditions.

4. Security and emergency/evacuation procedures

Removing the paintings from the building is the last resort in
the protection of the collection. Moving the paintings to another
secure, although perhaps not climate controlled, area within the
building is preferred.

The paintings should be enveloped in the gallery prior to leaving
the building. However, if there is no time to envelop the paintings
then they will be moved first to a staging area, enveloped and
protected by an armed guard at all times.

The type and location of the transportation vehicles will be
determined in advance and available on a will call basis 24 hours a
day, seven days a week.

The location of all possible staging areas and their location to
an exit will be mapped and routes to these areas established by the
TSM and Building management company as part of preparing the
emergency plan.

The gallery will be secured in the following manner.

Procedure

The alarm rings or evacuation crisis is identified by the TSM
staff or armed guard. Emergency trained staff member, one to remain
inside the building and one who will go outside the building each
take a radio.

C. Armed guard goes to a location between the double
doors and the grill and listens to radio to determine if the
emergency relates to the Museum area. If it does not relate than
the guard will stay on post unless he fears for his safety.

If evacuation is necessary the emergency trained staff does the
following:

A. Determine whether paintings should be evacuated to
collection storage or out of the building. If it goes out of the
building it can go up the freight elevator or the stairwell across
from Bari's desk.

B. If time permits the paintings should be placed in the
aluminum bags, cardboard placed over the surface of the frame and
the bag taped closed before they exit the building.

C. The paintings are then carried to the elevator or up
the stairs.

D. The emergency trained staff member should alert staff
outside the building to receive the art work at the stairwell or at
the dock. If the freight elevator is used, the paintings will then
be loaded onto vehicles or taken out the pedestrian doorway.

E. Other staff will then receive the paintings and the
guards will stand watch.

If evacuation is necessary within the building the staff does
the following:

A. The locations and route for the evacuation, in order of
choice are:

The collection storage room on B level in the painting cage.
Through the freight elevator and down the back hall.

The collection storage room on B level outside the painting
cage. Through the freight elevator and down the back hall.

The collection storage room on A level Down the freight
elevator and down the hall.

The coffee room next to the staff elevator on D level. Up the
freight elevator, through the dock to the room. B. A staff person
will be stationed at each end of the route to supervise the
evacuation effort.